[ Ref. "Declining Interest in Mechanical Music" ]

A week or so ago I wrote of my plans to attend Birmingham Jazz Festival
in the UK with two player pianos.  I had previously expressed doubt
about the current feeling of doom and gloom, and suggested that we see
what happens.  This is what transpired:

The first player piano, a straightforward upright Aeolian, went
into a replica of the Moulin Rouge for occasional entertainment.
Restrictions on stage space and time prevented all but a few short
sessions, though all were well received by a small yet appreciative
audience.

The main instrument, a 1920s upright Steinway, went into the Wellington
Inn, a real ale pub in the centre of the business quarter of the city.
From the first evening this player has aroused phenomenal interest --
there has been no mickey taking, no cries of "cheating", no snide
comments.

The landlord was enthusiastic about the experiment from the start and
his trade has boomed since its arrival.  Many of his customers -- and
indeed his bar staff -- have enjoyed pedalling a few rolls.  I believe
that the critical reasons for the success are as follows, and I would
suggest that the order of listing is relevant:

1. First, and most important: the clientele.  The average age is
probably around 40-45, and they're connoisseurs of real ale and happy
to settle in a corner with a good pint and a crossword; in other words,
mature individuals generally happy with life, happy to have peace and
quiet, but equally happy to have a bit of lively background music;
a relaxed atmosphere with no nuisance distractions such as noisy
one-armed bandits, juke boxes, or loud piped music.  This makes a
change from every other pub in the city!

2. A good mixed choice of rolls: mainly John Farrell's up-tempo JAM
arrangements, but also plenty of Joplin and other rags, standards and
word rolls; a few 1960s/1970s tunes; also all of the New England Jelly
Roll Morton rolls.

3. Advertising of the event in a local free jazz guide, with the
emphasis on Hot Piano Jazz.

4. The placing of the instrument in a sensible way, not obstructive yet
close to the bar so that it can be easily monitored, although in the
event there has been absolutely no abuse.

5. Taking the top door off so that the moving parts can be seen.  This
often provokes much interest and comment.

6. Showing that the piano can be played as normal.  I am no pianist but
can knock out The Entertainer or Bridge Over Troubled Water, instantly
recognisable tunes that always bring a good round of applause and take
the edge off any possible criticism of the purely mechanical aspect of
the music.

7. Menu-type leaflets distributed around the pub explaining the
instrument and listing all of the 150 rolls available, and inviting
participation.  Oh yes, and of course advertising my services!

8. Helpful notices nearby the pianola explaining how to play a roll
and pedalling hints.

9. Hands on tuition.  (Especially for the ladies!)

10. Encouragement.  Of course a few beers helps to break down
inhibitions, but almost everyone got immediate and genuine pleasure
from pedalling a roll.

11. CDs of representative music available.

In summary, this experiment has worked due to a number of factors.
The location was good and the clientele (young and old) appreciated
the wonders of a mechanical marvel.  Will they buy one in later life?
Will the landlord wish to install one permanently?  I don't yet know,
but I get a feeling that something might just take off in Birmingham.

Roger Waring - The Pianola Workshop
Solihull, West Midlands, UK
http://www.pianola.co.uk/